Portreti

Sa koncerata

More details and information of this project are going to be published soon on: www.dejanasekulic.com

This video preview is an interlude and was a spark of inspiration for initiating and starting up artistic research.
The main concept of this artistic research (or rather artistic journey) is dealing, expressing and searching for new technique, technical expressions, contemporary music lines and meaning, thus broadening violin technique and repertoire. You will be able to follow updates and if you would like, you could also take part in some parts and performances of this project.

•Opis ovog projekta/rada trenutno je dostupan samo na engleskom jeziku.
The main concept of this artistic research (or rather artistic journey) is dealing, expressing and searching for new technique, technical expressions, contemporary music lines and meaning, thus broadening violin technique and repertoire. You will be able to follow updates and if you would like, you could also take part in some parts and performances of this project.

✱ Upadate: You can now download and read the essay "Do you Hear me? - Handbook to contemporary violin notation" here

More details and information of this project are going to be published here soon. In the meantime, you are welcome to look at the video-interview, which is an introduction to upcoming events of this work (you can find this video in video section of "Media" or by clicking here.

Detaljni opis i informacije o ovom projektu biće uskoro ažurirani.

•Detalji o triu trenutno dostupni samo na engleskom jeziku.

❙ •About the trio

This trio first gathered for a specific project, performance of two contemporary pieces (A. Dumont: Eglog and a piece by G. Francoise), but playing and performing together (in various concerts, some of which took place in Bozar-Brussels, Flagey -Brussels, Maison de Poesie-Namur) they found that they share the same passion and desire to broaden and expand the form of contemporary repertoire, for this chamber group. Especially interesting for trio is that this kind of trio was particularly popular in 18th century and was portrayed by artists such as Watteau and Rameau, when portraying the atmosphere of the “Salon”, and music as a “soundtrack” to life often played at those very home salons. Having in mind what music represented then, and giving an homage to this time, their idea is to broaden the bond and performance expression of the trio, to further enrich and present pieces of contemporary music, contemporary take on subjects of music and its presence in the soundscape of everyday life. Employing contemporary instruments and even more contemporary techniques, goal is to have new pieces written inspired by this idea of combining diverse spaces for performing music, musical meanings and searching for inspiration in both entertaining but also enlightening, inner search spheres and even giving social statements. Taking the past and tradition as starting points only to transform it to “today” and view of “what’s coming”.

❙ •About the girls

High-spirited and uncompromising, talented and inspiring, Cindy Castillo has been raising her visiblity on the international scene of young organists through her concerts on four continents. She conceives her programmes along original thematic lines and transports her audience into another world due to the passionate commitment of her interpretations. Beyond her “classical” concerts, both as a brilliant soloist and as humble part of chamber music, Cindy Castillo equally explores possible dialogues at the cutting edge between the organ and other artistic languages, prominently among them dance, video and electronic music. She is also in touch with several contemporary composers: works by Claude Ledoux and Benoît Mernier have been dedicated to her. After graduating from the conservatories of Brussels and Paris, she became a laureate of foundations such as Rotary, Vocatio, Wernaers and de Lacour, as well as being invited as artist in residence at Sapporo Concert Hall in 2008-2009 with a view to promoting the organ and Western music in Japan. In the course of the past season she was invited for grand début recitals at prestigious venues such as Brussels cathedral (in the BOZAR series), at the Philharmonic Hall in Liège and at the Ars Musica festival. She also proved her mettle for he first time at the other side of the Atlantic, in Philadelphia and New York (USA), as well as on the African continent at Lumumbashi cathedral (Congo). In addition to her activities as a performer, Cindy Castillo is also a producer and host at musiq3, the Francophone classical radio station in Belgium. She frequently designs and presents the programme Le rendez-vous des musiciens. She also teaches organ at the Music Academy of Woluwé-Saint-Lambert in Brussels, while concurrently serving as titular organist at the National Basilica of the Sacred Heart in Brussels (Koekelberg). Cindy Castillo lives and works commuting between Brussels and Paris.

Maria José Jeannin was born in Besançon, France, where she learned harp, ballet and music at the Conservatoire untill 1998.
From 1998 to 2000, she studied harp and musicology at the Conservatoire and the Faculté of Aix-en-Provence, France. From 2000 to 2003, she studied at the Conservatoire supérieur de musique of Geneva, Switzerland, where she got the Soloist diplom, with the teacher Catherine Eisenhoffer.
From 2003 to 2007, she studied at Musikene, Centro superior del País Vasco, San Sebastián, Spain, with Frédérique Cambreling.
In 2004, she participated at the Lucern Festival Academy of music, with Pierre Boulez. In 2005 and 2006, she was member of the the Gustav Mahler Jugendorchester Academy, with Claudio Abbado, Philippe Jordan, Ingo Metzmacher, and played at the Musikverein Hall in Vienna and at the Royal Albert Hall in London.
Since 2005, she works regulary with the Ensemble intercontemporain, the Orquesta sinfónica de euskadi, the Radio Televisión Española, the Orchestre Philarmonique de Strasbourg, the Orquesta Ciudad de Granada, the Orchestre Philarmonique de MonteCarlo... Since 2004, she' s member of the contemporary Ensemble Laboratorium, based on Zürich, Switzerland. In 2009, she participated at the Festival de musique de Besançon as a soloist. From 2007 to 2009, she's harpist at the Teatro Massimo Bellini di Catania, Italy.
She presents an interest on new music, and working with contemporary composers, particulary on musical theater.
Since 2012, she participates at the advanced master with the Ictus Ensemble.

❙ •O deACT-/

deACT is DeArtCollective. Music, and art in general, are very important for us, as they enrich our lives and culture. We were brought together by desire to create art through music and we would also to share it and spread awareness of its importance.
We were all students at Brussels' Conservatory immersed in our own projects, when our paths began to cross each other. This is when we decided to combine our ideas and visions and start working together. And the idea of an artistic collective was “born”.
We strive to show how, for us, the classical music comes as close as any other type of music. How it can be fun. How it can be serious. How it can be deep, yet when it is necessary, very light. deACT gives us freedom to explore this. We formed deACT as a collective, to stay individuals in a group, but without making borders between each other. Because we felt that only this way, together, we can create something greater and better.
For us, being part of a collective is not only about playing along other musicians. It is also about an exchange of ideas and thoughts through music between each other, and further sharing and exchanging (ideas) with our audience. Including and interacting with audience for creating better and greater experience not only from musical pleasure point of view, but also from rising general standards and expectations music and culture can bring.
The communication between musicians is very important. Having established a good basis of communication and feeling comfortable, yet inspired for going further, we are careful and “picky” when it comes to involving new musicians. However, we are always open and happy in meeting and exploring new possibilities to “join forces” and add new people and artists. Because, as deACT grows, so does our idea of spreading the music and culture to people, involving audience and communicating with them…
This “structure” of different combinations of members allows us to have diverse artists depending on an idea or a concept of the upcoming concerts and projects. Or if necessary, less. Nevertheless, we all work together on developing us as a collective, keeping in mind that in order for that to happen, each member has also to individually develop and advance as an artist.
We try not to be bound by periods in music. We strive to perform music from all periods – from ancient to contemporary. Because our goal is performing and teaching valuable and important aspects of music and musical history, so that the modern day performer or “music lover” can have good foundation and form an opinion that would lead them in their future life with classical (and any other kind) of music. Of course, taste can vary and that is something what we discuss, but we help each other find beauty and meaning in every piece we decide to play. This way, the audience can also feel the structure of each piece and understand and feel it better.
Beside concert performances, deACT activities include chamber music workshops and music initiation for children.